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com 17608
2

Thank you for purchasing my new PDF, “Low Standards.”

I made this PDF because most “standards” books are

needlessly complicated. They often contain solos that are
excruciating to play, analysis that is utterly mind-numbing to
get through, and a level of pretentiousness that further
instills the crippling self-doubt all musicians seem to have.
All of the solos in this PDF are playable at any level. 99% of
this book can be played in half position. There’s no technical
achievement here, it’s just a collection of solos and bass
lines designed to expand your harmonic vocabulary. I
recommend playing everything as slowly as possible to allow
the extensions to enter your ears and your mind, as opposed
to breezing through everything in a typical jazz student
fashion. There’s a lot of depth and a lot of magic in the
harmonic extensions, for example, a #5 on a dominant chord,
which you can internalize by playing through the exercises at
a tempo that enables you to really hear everything.

The other thing I considered when making this PDF is the

length of phrases in a great solo or bass lines. Although
language is important, phrase length is arguably even more
important. Most great solos and bass lines are made up of
concise melodic phrases with a clear beginning and a clear
ending. Listen to any great melodic soloist, and you will hear
clear statements with a beginning and ending that naturally
flow into the next phrase. Phrase length is as important in
bass lines, even though we don’t have the ability to rest like
we do in a solo. With the solos and bass lines in this PDF, you
will be ready for any jam session or gig!

-Cole

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3
8
F Blues - solo
All The Things You Are

b7
F7 B F7 F7
? œ2 œ4 œ0 œ4 œ0 œ4 b œ1 œ2 œ0 ‰ œ0 b œ b œ œ œ #œ œ Œ
4 0 4 2 4

œ
1 4 0

œ œ œ bœ œ œ œ
1 1 0 2 4

J
b7 b7
258
b
B B F7 A mi7( 5) D7
? ‰ b œ1 œ0 œ4 œ œ œ N œ b œ œ œ œ b œ1 œ2 Œ œ2 œ4 œ1 4 œ0 b œ1 œ Œ ‰ b œ2 # œ4 b œ1
2 0 4 0 4
4 2 1

œ
262

G mi7 C7 A mi7 D7 G mi7 C7

? œ2 œ4 œ0 œ0 œ4 œ0 Œ b œ1 œ2 4 b œ1 .
œ
œ1 œ0 œ4 4
J œ ˙
1 0 4 4 2 bœ
‰ bœ œ œ œ œ œ
1 0

266
F7
? ˙ Ó
270

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4
8
F Blues - bass line
All The Things You Are

b7
F7 B F7 F7
? œ bœ œ œ œ bœ bœ œ
œ œ Nœ bœ œ œ bœ
bœ
b7 b7
234
b
B B F7 A mi7( 5) D7
?œ œ œ
œ œ bœ bœ œ #œ œ œ bœ œ
œ œ #œ
238

G mi7 C7 A mi7 D7 G mi7 C7

? œ bœ œ
œ œ bœ nœ œ œ œ bœ œ bœ œ œ œ
242

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5

1. F BLUES - SOLO

We’re starting simple here with a good old F blues. The thing with
this solo is that it’s totally playable at any level. But just because
you can play it, that doesn’t necessarily mean you can hear it.
This phrase here lands right on a b9, the F#.

Why land on the most dissonant possible note? Also, why am I

playing a Bb - a natural 4 - on a downbeat in the first bar of this
phrase? It’s because these notes are not only beautiful, they
create tension. This dissonance is actually essential to be able to
play a great solo and a great bass line. Throughout this book,
we’ll explore all the ways to add dissonance to your playing.
Here’s another example in this solo:

This phrase starts right down the middle, but then uses an Ebmin
triad over a D7. As crazy as that sounds, all those extensions
work - and you will benefit from being able to hear them!
The Bb is the #5 and the Eb is the b9. In the C7 in this solo, I start
right on the #5, which is my favorite extension to play on a dom7.

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6

1. F BLUES - BASS LINE

So once again, this phrase starts right down the middle and then
gets dissonant pretty quickly. I’m using an E on the 4th beat of
the 3rd bar, which I’m doing to break up the monotony of starting
on the root every single time. This way, I can resolve to the 7,
which is also unexpected.

I’m going to say this a lot - you do NOT have to start on the root
on beat 1 of every bar. In fact, it’s better if you don’t some of the
time! If your bass lines sound too “boxed in” - it’s likely because
you are resolving to the root too often when you don’t have to!

Case and point: the Eb on the bar 4 resolves to a D on the Bb7.

It’s the first chorus of a blues, how could I not play the 1 on the
downbeat of the 4 chord? The concept of playing “changes”
comes from a system of notation in Baroque music called
“figured bass.” In figured bass, a 6/5 (7th chord in first inversion)
is considered just as valid and as pertinent to the chord as a 7
(7th chord in root position). Both are considered very much “the
chord.” And since this concept of walking bass actually derives
from figured bass, a 3rd on the downbeat is just as valid!

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7

Bb Bb
10. Rhythm Changes
Rhythm - solo
Changes (Easy)
b
B ma7 G7 C mi7 F7 D mi7 G 7 C mi7 F7
? 4 bœ œ0 œ2 n œ4 œ0 Œ œ4 b œ1 œ4 œ2 œ4 œ0 w 4 0 œ
Œ Œ ‰ œ œ
4
2 2

b7 b b7
F mi7 B E ma7 A D mi7 G7 C mi7 F7
? bœ œ bœ œ œ Œ œ0 œ4 b œ4 b œ1 b œ4 œ0 b œ1 n œ2 w4
0 4

∑
4 0 1

5
b
B ma7 G7 C mi7 F7 D mi7 G 7 C mi7 F7
? bœ œ0 œ4 œ2 œ4 Œ œ0 b œ1 œ0 # œ4 œ œ w Œ Œ ‰ bœ œ œ
4 0 4 1 4 0

9
b7 b b7 b
F mi7 B E ma7 A C mi7 F7 B ma7
2 œ œ œ2 œ1 b ˙2
? b œ1 œ4 b œ œ1 ˙ b œ2 b œ4 1 œ4 .
bœ œ œ
4 œ
œ
4

Ó
4 1 0

J
13
D7 G7
? œ œ1 œ0 œ2 # œ4 œ1 œ0 # œ4 œ œ 4 0 œ
œ b œ4 œ4 1
1 0 2

œ œ
2 1 4 0

œ bœ Ó
1

œ #œ œ
4 2 4

œ œ ˙
17
C7 F7
? b œ œ1 œ0 # œ4 œ1 œ0 œ0 œ2 œ0 œ1 œ Œ œ2 œ0 œ1 œ œ2 œ0 œ1 œ ‰ œ œ2 œ ‰ Œ
2 4 4 4

b
21

B ma7 G7 C mi7 F7 D mi7 G7 C mi7 F7

? bœ œ0 œ2 n œ4 œ0 Œ b œ2 œ0 b œ1 n œ2 œ0 œ4 b œ1 ˙ Ó ∑
2
0

b7 b b7 b7
25

F mi7 B E ma7 A C mi7 F7 B

? œ4 b œ1 œ0 œ4 b œ œ4 œ0 œ4 bœ œ2 b œ4 œ Œ œ œ œ œ0 œ œ2 b œ4
4 1 0 4 2

29

©
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8
7 All The Things You Are

b
B ma7 G7 C mi7 F7 D mi7 G7 C mi7 F7
? œ œ bœ œ œ œ œ œ œ œ bœ
bœ nœ œ œ œ
b7 b b7
202

F mi7 B E ma7 A D mi7 G7 C mi7 F7

? œ bœ bœ bœ œ œ œ œ bœ
œ bœ Nœ bœ œ bœ nœ

b
206

B ma7 G7 C mi7 F7 D mi7 G7 C mi7 F7

? œ bœ nœ œ bœ œ
œ œ œ
œ œ œ œ œ bœ Nœ
b7 b b7 b
210

F mi7 B E ma7 A C mi7 F7 B ma7

?œ œ bœ nœ œ œ bœ bœ œ bœ œ
œ bœ nœ œ #œ
214

œ bœ œ œ
D7 G7
œ œ œ œ œ œ œ
?œ œ #œ nœ #œ
218

C7 F7
?œ œ œ œ œ bœ œ
œ bœ nœ œ œ œ œ bœ œ
b
222

B ma7 G7 C mi7 F7 D mi7 G7 C mi7 F7

? œ bœ œ œ œ œ bœ bœ œ œ bœ
œ œ œ œ œ
b7 b b7 b
226

F mi7 B E ma7 A C mi7 F7 B ma7

? œ bœ œ bœ œ bœ nœ œ bœ œ œ
œ bœ œ œ œ
230

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9

2. RHYTHM CHANGES - SOLO

Here’s an issue I’m passionate about: most of us are not playing

Rhythm Changes when we play Rhythm Changes. We’re playing
something in the vicinity of a Bb major key center (assuming
we’re in Bb) - but that is not a Rhythm Changes. In this first 4
bars, I outline the actual changes:

Not the most harmonically interesting line I’ve ever played, but
this is the basis for what a rhythm changes should sound like.
Here is the same set of changes with more extensions, such as a
natural 9 on the G7 and a b9 on the F7.

Now to the bridge. The bridge opens up an insane amount of

possibility for extensions. On this G7, I play the #11, the #9 and
the #5, which are all circled. Take the time to hear each extension
against the root. These extensions are the thing that take your
playing from good to great - both in your solos and your lines.

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10

2. RHYTHM CHANGES - BASS LINE

Let’s be honest here, most of your rhythm changes bass lines

sound like “Chopsticks.” And that’s not your fault, it’s just how
we’re all taught. The good news is, the delta between sounding
like “Chopsticks” and sounding like Ron Carter is far closer than
you think. All you have to do is change the order of notes.

Just like I said with the F blues, it is not only okay - but
encouraged - to start on the 3rd or the 5th. All I’m doing here is
reversing the order of notes from the typical rhythm changes
bass line, and it sounds much hipper! Here’s another example:

Here I’m trying to keep the notes together to create a linear bass
line, which is exactly what it sounds like. On the bridge, I use
plenty of “wrong notes” - such as the b9 and a major 7th - a
concept which we will explore more in the next two etudes.

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11
11
Impressions - solo
All The Things You Are

D mi7
?œ œ0 œ4 œ1 œ2 œ1 œ0 œ2 œ0 ‰ œ
0 2

Ó ∑
4 0

œ œ ˙
366

D mi7
?œ œ # œ n œ j
œ œ œ œ ‰ œ œ œ b œ n œ œ œ ‰ œj
0 2 2 0 4 0

œ bœ œ œ œ œ œ
4 4 0 4 1 2 0
2 1 0 1 1 1 2 2
0 4 0

œ ˙
370

D mi7
?Ó œ œ
4 1

‰ œ #œ œ œ œ œ
1 0 4 1 1 0 0 4

Œ œ œ œ œ #œ œ ˙ œ
0 0 1

# œ
0 4

œ
4 1 1 2 0 0

œ œ œ
374

D mi7
2 4 0 œ
? œ œ2 œ0 œ2 œ4 œ2 œ 0 0 Ó œ œ œ œ
4

∑ ‰ œ œ
2 0
4 0

œ œ
b
378

E mi7
? b˙ œ œ bœ œ ‰ œ œ
4

∑ œ bœ œ Œ Ó
1 2 2 1
4 4 4 4

b
382

E mi7
? b œ4 œ œ4 b œ œ b œ ‰ œ b œ4 b œ œ4 b œ b œ œ œ Œ Ó b œ œ b œ b œ4 œ
1 2 4 2 0 2 1
1

œ œ bœ
2 2 1 1 4 1 4 2 1

bœ
386
D mi7
0 œ
? Ó Ó Œ j
‰ œ œ œ œ œ . œ0 œ4 œ0 œ2 œ Œ
24

J
0 4 0 2

˙
390
D mi7
? œ b œ œ œ œ œ j ‰ œ œ œ œ œ œ4 œ0 œ4 œ0 œ2 œ0 œ1 œ ˙
2 4 0

Ó
2 1 0 2 4 0 0 2 2 4

œ
394

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12
11
Impressions - bass line
All The Things You Are

D mi7
?œ œ bœ œ
œ œ bœ œ œ œ #œ œ œ œ œ œ
338

D mi7
?œ œ œ œ œ œ bœ œ
œ œ œ bœ œ œ œ #œ
342

D mi7
?œ œ
œ œ œ œ bœ nœ œ œ #œ œ nœ œ œ œ
346

D mi7
?œ œ œ œ œ bœ nœ œ œ œ œ œ œ œ œ œ
b
350

E mi7
? bœ bœ bœ œ bœ œ bœ œ bœ bœ œ œ bœ nœ œ œ
b
354

E mi7
bœ œ œ bœ œ bœ œ bœ bœ œ bœ
? bœ œ œ œ œ
358

D mi7
?œ œ œ œ œ œ œ œ œ œ œ #œ
œ œ œ œ
362

D mi7
œ œ #œ nœ #œ œ œ œ bœ œ
?œ œ œ œ œ œ
366

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13

3. IMPRESSIONS - SOLO

Apart from the Rhythm Changes and the Blues, this is one of the
most commonly played sets of changes in Jazz. Miles Davis’s
tune “So What” follows the exact same set of changes. You might
think that the lack of chords makes this “easy,” but it often
leaves you wondering what to play over this blank canvas.

Once again: Wrong Notes will save you. For the nerds, that’s
actually a Miles lick in the first bar. You can only play D-F-A-C for
so long, until you have to throw in the dissonance and make
things interesting. Dissonance, or passing tones, is the sauce
that makes every great solo or bass line happen.

Here I am using the D minor scale … but with a Major 7th. It

creates such a beautiful sound, which Coltrane uses in literally
every version of his “Impressions.” Yes, I’ve listened to every one.

On the bridge, I use the 11 and the 9 to create an interesting

melodic color.

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14

3. IMPRESSIONS - BASS LINE

As important as dissonance is in the solo, it is even MORE

important in the bass line. Without the passing tones, you have a
formless clump of notes that will bore any soloist or singer to
death. With the passing tones, you can create a beautiful,
interesting bass line like the great Paul Chambers.

Once again, without the tension and release from beat 4 to beat
1, this bass line would be very uninteresting. The other thing
that’s essential when playing modal tunes is to create an
imaginary 5 chord, typically in bar 4 or bar 8 of a phrase.

This is the 4th bar of the phrase -

creating an imaginary A7 leading back
to the Dmi7.

You can also create a 2-5-1, playing a straight up Emi7/A7:

I do the same thing on the bridge:

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15
3 AutumnAllLeaves
The Things You -
Are Solo

b b
C mi7 F7 B ma7 E ma7
? ‰ œ0 b œ1 œ4 œ0 b œ œ0 b œ1 œ2 œ bœ
bœ œ4 n œ2 œ Œ Ó œ0 œ4 œ0 œ4 1 Œ
4 1

bœ
4 1

73 b
A mi7( 5) D7 G mi7
? ‰ œ œ bœ œ # œ œ œ œ ‰ bœ œ œ
4 0

∑ œ bœ œ œ œ Ó
4 0 1 4 010 12 4 1 0 4

77 b b
C mi7 F7 B ma7 E ma7
? bœ œ œ œ œ Œ œ4 b œ1 œ0 1 œ2 b œ1 œ0 # œ4 œ2 0 4 1 4 œ b œ4 œ0 0 4

bœ œ œ bœ œ œ Œ Ó
1 4 1 0 1

81
b
A mi7( 5) D7 G mi7
? ‰ œ0 b œ1 œ0 œ b œ4 b œ1 œ4 b œ1 œ œ0 œ2 œ0 1 4
Œ ‰ Œ Ó
4

bœ œ ˙
2

85
A mi7 D7 G mi7
2 bœ
? Œ 0 b œ œ4 œ0 b œ1 œ0 œ2 œ0 # œ4 œ œ Œ ‰ bœ nœ œ œ
j
0 4 1
1

œ bœ ˙ Ó
1 1 0 4

œ
89 b b
C mi7 F7 B ma7 E ma7
œ2 b œ1 b œ4 œ b œ j 0 œ4 œ2 œ4 b œ1 œ0
2

? bœ œ œ œ œ Œ
1 0 0
4

‰ œ œ œ œ bœ ‰ œ œ Ó
4 0 1
1 4 1 0 1

b7
93 3
7( b 5) 7 7
A mi D G mi G F mi7 E7
œ œ4 œ1 b œ2 0 0 œ2 4 b œ1 œ œ
?Ó ‰ œ œ bœ œ #œ ‰ œ œ œ bœ Œ œ œ œ ‰ J
4
4 00 2 4
1 0 4 1 2
4

b
97

E ma7 A mi7 D7 G mi7

? b˙ Ó
b œ4 œ4 œ0 œ2 # œ4 œ0 w ∑
1

101

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16
7
Autumn Leaves - bass line
All The Things You Are

b b
C mi7 F7 B ma7 E ma7
?œ œ bœ œ œ œ œ œ bœ œ œ bœ bœ œ
œ bœ
202
b
A mi7( 5) D7 G mi7
?œ œ #œ œ œ bœ œ œ œ
œ bœ œ œ bœ œ œ
b b
206

C mi7 F7 B ma7 E ma7

? œ bœ bœ nœ œ œ bœ nœ œ œ
œ œ #œ œ nœ œ
210
b
A mi7( 5) D7 G mi7
? bœ œ #œ œ œ bœ œ œ œ œ bœ
œ œ œ #œ œ
214

A mi7 D7 G mi7
? œ bœ œ bœ œ œ œ
œ œ bœ œ bœ œ œ bœ nœ
b b
218

C mi7 F7 B ma7 E ma7

œ œ bœ œ œ œ bœ œ
?œ œ œ œ bœ œ œ bœ
b7
222
b
A mi7( 5) D7 G mi7 G F mi7 E7
œ œ œ œ bœ œ bœ œ bœ
? œ bœ #œ œ œ œ
œ
b
226

E ma7 A mi7 D7 G mi7

? bœ œ bœ bœ œ œ œ œ bœ œ
œ œ #œ œ œ bœ
230

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17

4. AUTUMN LEAVES - SOLO

I often say if you can play over Autumn Leaves, you can play over
90% of the songbook. This is because this is arguably the most
fundamental progression in all of Jazz. Understanding the Major
and Minor 2-5-1s in this tune will take you very far!

A lot to unpack here. So in this first bar, I use a classic Bebop

lick. For more on Bebop licks, I recommend my book “25 Easy
Bebop Licks for Upright Bass.” On the F7, I use the #5 and #9
once again … and then resolve to the #11 on the Bbma7.
Extensions galore! Let’s move on to a Minor 2-5-1.

So here I’m using the Eb on both the Ami7(b5) and the D7, since
it’s the b5 of the Ami7 and the b9 of the D7. Then, I resolve to an
E on the Gmi7, which is a natural 13. A beautiful sound on a min7!

Here is a more traditional approach to that same 2/5/1, using less

extensions and more “butter notes.”

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18

4. AUTUMN LEAVES - BASS LINE

In the first 2 bars, I use a ratio almost as great as the Reese’s

Peanut Butter Cup: 50% starting on the root, 50% on the 3rd.

If I just played the root on beat 1, it would be boring and

predictable. And if I just played the 3rd, it might be a little unclear.
This ratio works every time! I use it again here:

This time I’m doing third-third-root-root on the beat 1s, as

opposed to root-third-root-third. Any way you use this ratio is
great, especially in a 4 bar phrase. Let’s move on to an unusual
note choice, which you might think is an error …

Who would play an F# on the downbeat of an F7?! The reason

this works is because when I do play that F, it creates a feeling of
release. This is tension and release, but in the same bar! Then the
A on beat 4 leads perfectly to the Bb on beat 1.

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19
5 On Green Dolphin
All The ThingsStreet
You Are - solo
b b
E ma7 E mi7
? b œ1 œ0 œ4 œ0 œ1 œ4 œ0 b œ1 œ2 œ0 b œ1 b œ
‰ œ bœ œ Œ Ó œ4 b œ1 œ4 1 Ó
1

bœ
0 4

b
154

F7 E7 E ma7 C7
? ‰ œ bœ œ œ œ #œ œ Œ ‰ œ œ bœ œ œ œ œ bœ bœ Œ
0 4 2 1 1

Ó
2 1

œ
0 2 4 0 0 4 1 0 1 4 0

œ œ
b7 b
158

F mi7 B E ma7
? ‰ bœ bœ œ œ œ œ œ ˙ ‰ œJ ˙
1 1 4 4

Œ œ bœ œ ˙ Ó
1
1 4 0 2 4 0 0

b b7 b b7
162

A mi7 D G ma7 F mi7 B

?Œ œ4 b œ2 b œ1 b œ4 1 0 b œ2 4 œ2 b œ4 œ2 ˙
‰ J b œ œ bœ œ Ó ∑
b b
166

E ma7 E mi7
1 œ
? b œ œ œ0 œ4 b œ1 0 œ1 œ0 1 4 0
4 1
œ b œ1 œ4 b œ1 œ4
4

œ bœ œ œ œ Œ bœ bœ ˙ Ó
1
4

b
170

F7 E7 E ma7 C7
4 0 œ
? œ4 œ0 b œ2 œ0 œ2 œ # œ4 # œ1 œ4 # œ œ œ œ ˙0
4 4

‰ œ bœ œ Ó
4 1 02 4 1

œ
1 1

174
b
F mi7 D mi7( 5) G7 C mi7 A mi7 D7
? ‰ b œ1 œ0 œ4 b œ1 œ4 Œ œ œ0 b œ1 œ0 ‰ œ0 œ4 b œ1 ˙ œ1 œ4 œ1 œ0 œ1 # œ4 1 4
Ó bœ œ
4

b7 b
178

G mi7 C7 F mi7 B E ma7

? œ0 œ0 b œ1 b œ4 . œ0 b œ1 œ4 b œ1 œ . œ0 w4
J J ∑
182

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20
5 On Green Dolphin Street
All The Things You Are - bass line
b b
E ma7 E mi7
? bœ œ œ œ œ bœ bœ bœ œ bœ
œ bœ nœ œ bœ bœ
b
154

F7 E7 E ma7 C7
?œ œ œ œ bœ œ œ œ
œ œ œ œ œ bœ œ œ
b7 b
158

F mi7 B E ma7
? œ bœ œ œ bœ œ bœ bœ
œ œ bœ nœ bœ nœ œ œ
b b7 b b7
162

A mi7 D G ma7 F mi7 B

? bœ œ œ bœ bœ œ bœ œ bœ bœ œ
œ
bœ œ œ bœ
b b
166

E ma7 E mi7
? bœ
bœ nœ œ œ bœ nœ œ œ bœ bœ œ bœ
œ bœ nœ
b
170

F7 E7 E ma7 C7
œ bœ œ
?œ œ œ bœ œ œ bœ œ œ bœ œ
œ œ
174
b
F mi7 D mi7( 5) G7 C mi7 A mi7 D7
?œ œ œ bœ œ bœ œ
œ œ
œ œ
bœ œ œ
œ #œ
b7 b
178

G mi7 C7 F mi7 B E ma7

? œ bœ #œ œ œ bœ œ œ bœ œ œ œ œ bœ œ nœ
182

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21

5. ON GREEN DOLPHIN STREET - SOLO

This song combines the concepts from the previous two songs:
lots of 2-5-1s with a modal element. Let’s use these concepts to
create an interesting melodic solo!

I’m using all the concepts to dress up the monotony of the chord
progression. I land on the #11 in the 2nd bar to keep it
interesting, and then resolve to a more familiar minor 7. Next!

The above chord progression is one of my favorite 2/5/1s in the

entire Songbook. The modulation here is so refreshing and
unexpected. I often play the b9 on the downbeat, which is a nice
sound regardless of the register. Here’s one more line:

This line uses motivic development in the first two bars. Motivic
development to me is overused, which is why I don’t use it that
often. But sometimes it can be nice, especially on descending
dominant 7 chords, which are some of the most difficult chord
progressions.

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22

5. ON GREEN DOLPHIN STREET - BASS LINE

Here on this Ebmi7, I do not play a single root … until I get to

beat 4. This is something Israel Crosby, whom I consider to be
the all time Heavyweight Champion of bass lines, does a lot.
Instead of playing the root on beat 1, you actually play it on beat
4, which creates a cadence going to the next phrase.

I do this for two reasons. First, it would be insanely boring to just

play the Eb on the downbeat for all 4 bars. Second, you can
outline and differentiate the chords without playing the root,
since the Ab and Gb are not in the previous chord. Here’s what
that cadence on beat 4 leads to:

Another beat 4 cadence! I seriously recommend trying this out at

home. It’s not talked about enough, but it’s a really strong way to
create movement and add clarity to your phrases. In the last
phrase of this chorus, I use two tritone subs, on both the Gb7
and the E7.

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23
6
# GiantAll TheSteps
Things You-Aresolo

b7 b
B ma7 D 7 G ma7 # B E ma7 A mi7 D7
? Œ # œ2 # œ4 n œ1 œ4 œ1 œ0 œ0 # œ4 b œ b œ1 œ œ 2 0 bœ
œ
4 0 2

# œ4
0

œ
0 2 4 0

œ œ bœ Œ Ó œ
4 1 2

#
œ œ œ
5 2 4 5

b7
186
b7 b #7 B
G ma7 B E ma7 F B ma7 F mi7
? œ œ Œ Œ bœ œ œ bœ œ #œ nœ #œ #œ #œ Œ Ó b œ b œ1 œ0 œ
0 0 2 4

‰ œ œ œ
2 0 1 4 0 1 0 4 2 4 2 4 4

#
b # #7
190

E ma7 A mi7 D7 G ma7 C mi7 F

0 œ
4 bœ
œ1 # œ4 0 œ
? œ œ œ œ bœ Œ œ œ œ # œ œ n œ0 # œ œ # œ4
2 4 0

œ œ œ Œ
4 2 4

œœœ
4 4 0 4 1 2 2 1 2 1 2

194
b7 b # #7
B ma7 F mi7 B E ma7 C mi7 F
? ˙ œ4 # œ2 # œ4 b œ1 œ4 b œ1 4 0 œ4 œ1 œ4 b œ1 . œ0 œ4 b œ1 œ4 # œ1 œ2 4 1 # œ4
‰ œœ J Œ #œ #œ Œ
198

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24
6
Giant Steps - bass line
All The Things You Are

b7 b A mi7 D7
B ma7 D7 G ma7 B E ma7
? œ œ #œ nœ œ bœ œ bœ
œ #œ nœ bœ œ œ œ #œ
186
b7 b #7 b7
G ma7 B E ma7 F B ma7 F mi7 B
?œ œ #œ #œ œ #œ #œ
œ bœ œ bœ œ œ bœ œ bœ
b # #7
190

E ma7 A mi7 D7 G ma7 C mi7 F

? bœ œ œ bœ œ œ œ #œ œ #œ œ
œ œ #œ œ œ
b7 b # #7
194

B ma7 F mi7 B E ma7 C mi7 F

œ bœ
?
œ #œ
#œ #œ œ bœ œ œ bœ œ #œ œ #œ #œ
198

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25

6. GIANT STEPS - SOLO

Let’s be honest, it wouldn’t be a jazz etude book if it didn’t have

Giant Steps. I got a lot of flack and guff from The Juilliard School
when I started making these books, because it was apparently
“antithetical” to “the real s***” in some way. My argument was:
John Coltrane would have made PDFs if he were alive today! He
wasn’t just one of the greatest musicians ever, he was also a
great musical theorist, who used his “matrix” for many songs.

Since this line is mostly in half position, it’s actually pretty easy to
play. But here’s the problem: it’s hard to hear. Why do you think
Tommy Flanagan, one of the great pianists, struggled to play this
tune on the record? It wasn’t just the tempo, it was that nobody
had really seen changes like this before, with a modulation in
every single bar.

That’s another crazy sequence. Giant Steps doesn’t have to be all

8th notes. You can outline the chords in a way that doesn’t have
to be blazing 8th notes the whole time. Let’s face it, none of us
are John Coltrane … we’re just trying to play the changes well.

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26

6. GIANT STEPS - BASS LINE

I present something completely unheard of: A bass line on Giant

Steps that does not consist of playing each root twice, over and
over again. I mean, even Paul Chambers had to do that for most
of this tune. None of the sidemen had ever seen these changes!

Once again, just because the changes are difficult, that doesn’t
mean we all have to beat them to death. Everyone will know what
song that is, even though there’s no “Bb” over the Bb7. In the
next example, I do some interesting things with 3rds.

In the 2nd and 4th bars of this phrase, I use ascending 3rds.
Ascending 3rds sound great, and give movement to the line.
Bach used them all the time in his bass lines. However, the thirds
have to be close together, or else they won’t sound great. If I
played “B D# / D F#” in the first bar, that wouldn’t be great. But if
the 3rds are close together, then they have good voice leading. In
the next example, I play something that I stole from the great
Peter Washington.

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27

Stella9.ByStella
Starlight
(Easy)- solo
E mi7 b 5 A 7# 5 C mi7 F7
?4 ˙ b œ4 œ2 œ0 œ2 . œ0 b œ1 œ4 œ0 ˙ œ4 b œ1 œ0 œ1 œ0 b œ N œ2 œ0
4 ‰ Ó
2 4

J
b7 b b7
F mi7 B E ma7 A
# œ4 œ . œ2 b ˙1 4 bœ 4
? b œ1 œ4 b œ1 œ0 œ4 ‰ œ1 œ0 # œ1 # œ4 J Ó Œ Œ œ œ œ
0 4

J
5
b b Eb7
B ma7 E mi7 A7 D mi7 B mi7
? œ2 . œ0 œ4 œ0 Œ œ2 œ b œ2 œ1 œ0 œ œ4 œ4 b œ1 œ2 b œ4 n œ2 œ4 b œ1
J #œ œ Œ Œ
0 4

9
F ma7 E mi7 A7 A mi7 D7
?˙ œ0 œ4 b œ1 œ0 œ b œ4
Ó Œ bœ Œ œ œ #œ ˙ Ó
2 1 1 2 4

13
#
G 7( 5) C mi7
œ b œ4 b œ1 œ4 œ b œ 0 bœ œ2 œ4 œ0 Ó
0 1 2

œ
4

? œ
0 2 4 0

∑ œ œ b œ
4

œ œ œ œ
0 1 4

17
b7 b
A B ma7
? b œ b œ1 b œ4 œ4 b œ1 Œ b œ1 œ2 b œ4 ‰ b œ œ4 œ2 œ . œ0 œ4 œ0 œ2 œ0 Ó
4 4 4

J ˙
b
21
E mi7 A7 D mi7( 5)
œ œ œ bœ ˙
G7
? œ2 . œ œ2 . œ œ2 b œ4 ‰ œ2 œ0 ˙2 b 1 bœ
œ
4

‰ œ
4 1
1

Ó
4

J J
0 0 0

3
25
b
C mi7 F7 B ma7
œ4 œ1 b œ2 # œ4 œ1 œ4 w
?Œ #œ nœ4 2
˙
29

©
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28
7
Stella By Starlight - bass line
All The Things You Are

b #
E mi7( 5) A 7( 5) C mi7 F7
?œ œ bœ œ bœ œ œ nœ bœ œ œ œ
œ œ œ #œ
b7 b b7
202

F mi7 B E ma7 A
?œ bœ œ bœ bœ bœ bœ
bœ bœ nœ œ œ bœ œ
œ œ
b b b7
206
b
B ma7 E mi7( 5) A7 D mi7 B mi7 E
?œ œ œ œ œ œ œ œ bœ œ œ bœ
œ œ bœ œ
210
b b b
F ma7 E mi7( 5) A7 A mi7( 5) D 7( 9)
?œ œ œ œ bœ œ œ œ œ œ œ #œ
bœ œ œ œ
214
#
G 7( 5) C mi7
œ œ bœ œ
?œ œ œ bœ œ œ œ œ bœ
œ œ œ
b7( #11) b
218

A B ma7
? bœ bœ bœ œ bœ bœ œ bœ œ œ œ bœ œ œ œ
œ
222
b # b
E mi7( 5) A 7( 5) D mi7( 5) G7
?œ œ œ bœ bœ œ œ bœ bœ œ œ bœ nœ
œ œ œ
b
226
b
C mi7( 5) F7 B ma7
? œ bœ bœ bœ œ œ bœ œ œ œ œ bœ
œ œ œ
œ
230

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29

7. STELLA BY STARLIGHT - SOLO

This is such an interesting tune, because it has the easiest

melody, and the most unusual changes. If you play this melody,
and then play these changes separately, you would have no idea
how they actually go together. But they do, somehow!

What an unusual way to start a tune. I had a teacher named Jim

Salzman (who is a great saxophonist) who told me “when you
have hard changes, you can outline the changes as simply as
possible and it will sound interesting.” I think about this a lot, and
that’s exactly what I’m doing in this solo. When dealing with
changes like this, just simply play the changes!

There you have it. A few extensions in there, but really not a lot.
I’m just trying to play the changes because they are really so
interesting and unusual. It’s funny, a lot of people insist that your
solo should be based on the melody. It might be difficult to play a
solo based on the melody here, since the changes have very little
to do with the melody! Here is one more example:

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30

7. STELLA BY STARLIGHT - BASS LINE

Once again, even though I’m talking about playing the changes
clearly, that does not mean playing 1-3-5-7 with the root on beat
1 all the time. You do not have to do that. It’s way better to keep it
simple, but with a few nice passing tones thrown in.

The E on the Cmi7 is not the best starting note, but it is a great
finishing note. The E leads perfectly to the Eb, which I used to
continue the line. I could have landed on an F there, but I did not,
because I wanted to give the line some more movement. I do a
similar thing here:

In the last bar of this phrase, I could have landed on a Bb, but I
thought the movement was stronger if I chose an Eb. Sometimes
linear movement is the way to go, especially when you’re
weaving through unexpected changes. The danger with harder
changes is sounding clunky, because you may feel like you
always have to land on the root. Guess what — you don’t!

How is D-F-C-B the right choice for a Bbma7? It’s because it

leads you right to the Bb on the next bar and creates a cadence.

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31
7
Confirmation - solo
All The Things You Are

b
F ma7 E mi7( 5) A7 D mi7 G7 C mi7 F7
? œ2 œ4 œ4 œ0 œ2 œ4 b œ ˙ œ2 œ0 œ4 œ0 ˙ œ0 œ4 b œ1 œ4 ˙ Ó
4

b
226

B ma7 A mi7 D7 G7 C7
? œ0 œ4 œ0 œ4 œ2 œ4 œ0 œ2 œ4 œ1 œ2 # ˙4 œ1 œ2 # œ4 œ1 œ2 œ0 ˙ Ó
230
b
F ma7 E mi7( 5) A7 D mi7 G7 C mi7 F7
? ‰ œ2 œ0 œ4 œ2 œ4 Œ œ2 b œ4 œ0 œ2 4 œ2 œ4 œ0 œ2 œ4 œ2 0 b œ1
#œ Œ œ Œ Ó
b
234

B ma7 A mi7 D7 G7 C7 F ma7

œ œ1 œ4 œ0 4 œ0 b œ1 4 œ
? œ Œ œ œ œ œ ˙
4 0 2

œ œ œ #œ Œ ‰ bœ œ Ó
4 0 2 2 4 0
1 0

b
238

C mi7 F7 B ma7
œ bœ #œ nœ bœ
4

? ‰ œ bœ œ œ Œ
0 4

œ
0

‰ œ Œ œ œ œ bœ Œ Ó
4 1

œ #œ
0 1 0 2 1 4 2 1 2 4 0 1

œ
b b7 b
242

E mi7 A D ma7 G mi7 C7

? b œ1 œ4 b œ1 œ4 œ . œ1 N œ2 # œ4 œ2 0 .
œ œ
j
Ó ‰
œ2 œ4 0 # œ1 œ2 4 2
œ
4

J œ ˙ #œ nœ
246

F ma7 E mi7 A7 D mi7 G7 C mi7 F7

? ˙ 2 bœ
œ œ œ œ œ b œ1 œ0 b œ1 n œ2 # œ4
œ œ œ
4

Ó Œ œ #œ œ œ Œ
4 0 2 4 0

#œ œ
2 0 4 0 0 4 2 0

b
250

B ma7 A mi7 D7 G mi7 C7 F ma7

? ‰ œ2 œ4 œ0 œ2 œ4 œ0 ‰ œ4 œ0 œ œ b œ Œ œ2 œ4 0 œ2 œ4 œ0 ˙
4 2 1

‰ œ Ó
J
254

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32
7
Confirmation - bass line
All The Things You Are

b
F ma7 E mi7( 5) A7 D mi7 G7 C mi7 F7
?œ œ
œ œ œ œ #œ œ œ œ œ œ
œ œ œ œ
b
202

B ma7 A mi7 D7 G7 C7
? œ œ bœ œ œ bœ nœ œ #œ œ
bœ œ œ œ œ œ
206
b
F ma7 E mi7( 5) A7 D mi7 G7 C mi7 F7
?œ œ œ bœ œ œ œ
œ œ œ bœ œ #œ œ œ
œ
b
210

B ma7 A mi7 D7 G7 C7 F ma7

?œ œ bœ œ œ œ œ œ œ œ œ œ œ
œ bœ nœ
b
214

C mi7 F7 B ma7
œ œ œ œ Nœ bœ
?œ œ œ œ bœ œ œ œ œ
bœ
b b7 b
218

E mi7 A D ma7 G mi7 C7

? bœ œ bœ nœ bœ œ bœ œ bœ bœ œ œ œ œ
œ bœ
222

F ma7 E mi7 A7 D mi7 G7 C mi7 F7

? œ œ œ œ œ #œ
œ œ œ œ bœ œ œ bœ œ nœ
b
226

B ma7 A mi7 D7 G mi7 C7 F ma7

? bœ œ bœ œ œ #œ œ œ œ œ œ
bœ œ œ bœ œ
230

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33

8. CONFIRMATION - SOLO

Pretty much anything Charlie Parker is worth learning and

checking out. This tune has a really interesting chord
progression, and it’s especially conducive to bebop language,
which of course, was Bird’s language. Here’s the first phrase:

Although this isn’t totally bebop (not enough passing tones), the
opening chord progression is perfect for some motivic
development. Since you have descending 2-5-1s, think of a line
and try to move that line through the chords. It’s a great exercise!
Now here’s a bebop phrase:

There’s a lot of discussion about the passing tones in bebop, as

there should be. But what’s not talked about enough is the use of
extensions. Bird used extensions more than anyone, and an
extension he used a lot is a #11 on a dominant chord (circled
above). In the next phrase, we get deeper into passing tones.

This lick isn’t the easiest to play on bass, but it’s killing!

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34

8. CONFIRMATION - BASS LINE

The 2-5-1s in this tune can make for some great bass lines. I love
playing bass lines over descending 2-5-1s, it seems that the
possibilities are truly endless.

Here I’m trying to create a melodic bass line as well as a

functional one. That E on the G7 seems like it wouldn’t work, but
it works perfectly. I actually don’t know why that works, but Israel
Crosby played it a lot, so it must be great. On to the next one!

I certainly could have played the root in that second bar on beat
1, but sometimes it’s fun to change it up. Creating an interesting
bass line can be as simple as changing the order and playing the
root on beat 2, instead of beat 1. Let’s check out the bridge:

Two bars of Bb: Play D-F-C-B on that first bar leading to the Bb in
the second bar. A delayed resolution that fits perfectly over the 2
bars of the same chord! I also play a similar phrase in the Cmi7, I
could have easily done C-G-D-C# or Eb-G-D-C#. It always works!

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35
All The Things You Are - solo
b b7 b
F mi7 B mi7 E A ma7
2 bœ ˙
?4 œ0 œ2 œ4 œ0 b œ1 b œ4 œ œ4 b œ1 n œ2 œ0 4 1 0 4 1
#œ œ œ nœ b˙
4

4 Œ Œ Ó
b
D ma7 G7 C ma7
? b œ1 œ0 œ4 b œ1 œ4 Œ œ œ œ
0 2 4 œ2 b œ1 œ4 0 b œ1
œ w
2
∑
5
b7 b
C mi7 F mi7 B E ma7
œ4 œ0 b œ4 b œ1 # œ2 œ4 œ2 œ4 b œ2 4 0 2 1 b œ1 œ0 4 1 4
? œ œ bœ œ œ Œ #œ œ œ bœ. J œ bœ œ
0 4

Ó
0 4 1

9 b
A mi7 A mi7 D7 G ma7
? w œ # œ1 œ2 # œ4 œ1 0
œ œ ˙ ∑
1 4 0 1

œ #œ œ œ
2 2 0

13
A mi7 D7 G ma7
2 œ
1 œ
?œ œ œ œ 4
# œ œ
2
œ0 œ4 œ0 œ1 # œ4 œ0 1 œ1 œ1 # œ4 ˙
‰ œ Œ
1

œ œ œ
0 0 2 0 1

17 # b b #
F mi7( 5) B 7( 9) E ma7 C 7( 5)
2 œ
1 œ ˙
? œ œ œ #œ 0 œ
œ
4
œ4 œ1 # œ4 n œ0 # ˙1 b œ1 œ2 œ4 œ0
Ó Ó
2 0 1 4

b b7 b
21
F mi7 B mi7 E A ma7
? b œ1 b œ1 œ4 ˙1 b œ1 œ œ1 . œ1 b œ1 b œ1
Œ Ó J Œ Ó
2

25 b b13
D ma7 G C mi7 B dim7(b13)
? Œ b œ1 œ4 b œ œ1 œ4 b œ4 b œ1 œ2 4 b ˙1 b œ œ4 œ0 œ œ4 œ0 œ œ ˙0 Ó
4 2 4

œ
1 1

29 b b7 b
B mi7 E A ma7 C7
? b œ1 œ0 b œ1 œ4 ˙1 œ # œ4 œ0 ‰ œ4 œ œ0 œ .
2 2
œ4 b œ1 œ4 œ w
J
33

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36
2
All The ThingsAll TheYou Are
Things You Are - bass line

b b7 b
F mi7 B mi7 E A ma7
? œ bœ bœ œ bœ bœ œ Nœ bœ œ bœ Nœ bœ œ œ bœ
37 b
D ma7 G7 C ma7
? bœ œ œ œ œ œ œ œ bœ
œ bœ œ œ œ œ œ
41 b7 b
C mi7 F mi7 B E ma7
œ bœ œ œ œ bœ bœ
?œ œ œ œ Nœ bœ œ œ œ
b G ma7
œ #œ
45
A mi7 A mi7 D7
œ œ bœ œ œ
? œ bœ bœ bœ œ
œ œ
œ
œ
49
A mi7 D7 G ma7
?œ œ œ œ #œ œ #œ œ œ
œ œ œ œ œ œ
#œ
53 #
F mi7( 5)
b
B 7( 9)
b
E ma7 C 7( 5)
#

?œ œ #œ œ œ œ œ œ
œ #œ œ #œ #œ œ œ œ
57
b b7 b
A ma7
F mi7 B mi7 E œ œ bœ œ œ œ
? bœ œ œ œ bœ œ bœ
œ bœ bœ
61 b b13
D ma7 G C mi7 B dim7(b13)
bœ œ bœ œ bœ nœ bœ bœ
? œ œ bœ œ œ œ
œ œ
65
b b7 b
B mi7 E A ma7 C7
? bœ nœ œ œ bœ œ bœ œ œ œ œ œ
bœ œ bœ nœ
69

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37

9. ALL THE THINGS YOU ARE - SOLO

This is actually my favorite standard. The harmonic movement in

this song is so beautiful, that the changes almost play
themselves. In the first phrase, I use a bebop “trick” - starting the
phrase on beat 2, but using two passing tones on beats 1 / 1+.

Smooth. If you want to simplify things, you can always use the
notes in the melody. Since the harmony really sings by itself, all
you have to do is use the melodic notes that are already there.
It’s kind of amazing! In the next phrase, I use some extensions.

That b9 on the G7 is pretty nice, as well as the #5 leading into the

3rd. That lick on the G7 is great, and you can find it in all 12 keys
in my book “25 Easy Bebop Licks for Upright Bass.” Next!

What’s interesting about that first bar is I literally just play the C
Lydian scale. It’s such a nice sound over this Minor 2-5 … except
it’s not a true Minor 2-5, since it resolves to the Major 7!

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38

9. ALL THE THINGS YOU ARE - BASS LINE

Ah yes, we return to the ratio. 50% starting on the root, 50%

starting on the third, in a 4 bar phrase. Works every time.

It’s tempting to just walk up and walk down when you have sets
of changes such as this and “Autumn Leaves,” where the
harmony most often moves in 4ths. However, if you just do that
(for example F-G-Ab-A / Bb-B-C-D) it can get boring!

In the two bars above, I actually do not play a single root in the
chord. However, I am still outlining the chords perfectly, and
resolving to the next bar. Here’s another example of that:

Ah, my beloved 3-5-9-b9 lick, which I stole from Israel Crosby.

Once again, I am outlining the chords without playing a single
root, which creates a powerful cadence when I do resolve to the
root on beat one of the next bar!

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39
9 It Could Happen ToYou You
All The Things Are - solo
b b b
E ma7 G mi7( 5) mi7
CC7(b9) F mi7 A mi7( 5) D7
2 bœ 4 bœ 4 2
?‰ œ b œ œ œ0 œ1 (b)œ4 1 ‰ œ bœ œ #œ œ nœ
4 1 0

œ œ b œ Ó
2 2 2

œ bœ œ œ ˙
4 1 0 2 4 1
0 2

b b
274

E ma7 A ma7 G mi7 C7

? œ b œ4 œ0 b œ1 Ó œ2 b œ1 b œ1 0
œ œ Ó
0 1

œ bœ Ó #œ Ó
2 0

b7 b
278

F mi7 B E ma7 G7
? œ0 b œ1 œ0 œ4 œ0 œ1 œ2 # œ4 œ œ
n œ ‰ b œJ œ b œ œ œ Ó
0 1 4 0

∑
0 4 1

#7 b7
282

C mi7 F7 F B7 F mi7 B
2 #œ
1 œ œ œ4 œ2 # œ1 # œ4
? œ œ bœ œ 0 œ
œ œ4 œ2 # œ1 # œ4 1 b œ4 b œ1 œ0 œ4 1
œ Œ bœ Œ
4

Œ
4 0 1 4

286
b b b
E ma7 G mi7( 5) C mi7 F mi7 A mi7( 5) D7
1 bœ
0 bœ œ2
0

œ œ0 # œ4 Ó
4 4

?œ œ œ Ó œ
1

∑ ‰ œ œ bœ
4

bœ
4
4 0 1

b b
290

E ma7 A ma7 G mi7 C7

b œ œ2 b œ4 b œ1 œ0 4 2 b œ1 1 4 2
? œ0 œ4 œ0 œ4 b œ b œ b œ1 œ0 b œ1 œ4 œ0 Ó œ œ bœ bœ œ
4

Ó
1 4

b7 b b7
294
b
F mi7 B E mi7 A G mi7( 5) C7
1 bœ n œ4 b œ2 œ .
?Ó Œ œ œ b œ 2
œ1 œ0 œ0 œ0 b œ4 œ4 œ4 œ4 b œ1 Ó
J
4 0

b7 b
298

F mi7 B E ma7
? œ0 œ4 b œ1 œ0 œ œ1 œ2 # œ4 1 Œ
1 4

‰ œ bœ nœ w
0

∑
4

œ
302

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40
9 It Could Happen
All The To You
Things You Are - bass line

b b b
E ma7 G mi7( 5) C mi7 F mi7 A mi7( 5) D7
? bœ œ œ œ œ œ bœ œ œ #œ
œ bœ œ œ #œ œ
b b
274

E ma7 A ma7 G mi7 C7

?œ œ bœ œ bœ œ bœ œ œ œ bœ
œ œ bœ nœ œ

b7 b
278

F mi7 B E ma7 G7
?œ œ œ œ bœ œ
œ bœ nœ bœ œ œ bœ œ œ œ
#7 b7
282

C mi7 F7 F B7 F mi7 B
œ œ #œ œ #œ œ nœ œ œ #œ œ bœ bœ œ
?œ œ
286
b b b
E ma7 G mi7( 5) C mi7 F mi7 A mi7( 5) D7
œ
? bœ œ œ œ œ œ Nœ bœ œ œ
œ bœ nœ bœ nœ
b b
290

bœ
E ma7 A ma7 G mi7 C7
œ œ bœ bœ œ
? œ bœ œ œ œ #œ œ œ œ
œ
b7 b b7
294
b
F mi7 B E mi7 A G mi7( 5) C7
? œ œ bœ œ œ œ bœ œ œ
œ œ bœ nœ bœ nœ œ
b7 b
298

F mi7 B E ma7
?œ œ bœ nœ bœ nœ œ œ bœ œ bœ œ œ œ
bœ œ
302

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5
41

10. IT COULD HAPPEN TO YOU - SOLO

This song is pretty tricky because of all the hidden modulations.

It’s considered a “beginner” jazz standard, for whatever reason I
do not know. It’s hard for me, so I’m not sure how “beginners”
are faring with these changes … but hopefully this etude
simplifies things! In the first phrase,

Here I’m really just trying to outline the changes. These first few
changes are pretty tricky, because they’re so unexpected. In the
next phrase, I use some interesting motivic development - and
some extensions!

On the C7, I’m playing entirely extended harmony - #9, to #5, to

b9. It goes with the rest of the phrase and creates some nice
voice leading. Then, I continue the phrase here:

This is what’s known as a guide tone line. Follow the beat 1s from
the Ab7, and you get Bb-A-Ab-G-F#. Voice leading!

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42

10. IT COULD HAPPEN TO YOU - BASS LINE

We’re back with the ratio, except this time I’m playing an Eb (the
b5) on the downbeat of that Ami7(b5) chord. It’s a great note, I
love the way that note sounds as the root of the chord.

In this next phrase, I do something insane. Starting with a b5 on a

dominant chord? That’s some Paul Chambers s**t.

I don’t know why that’s what I was hearing, but I think it sounds
great. Then I change register in the next 4 bars, which is
something I haven’t addressed yet. I try not to be too formulaic
about this, but if I’m staying in one register for too long, I try to
change it up by finding a way to get to another register.

Another register doesn’t have to mean thumb position. It just

means playing in a different octave or position!

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43
10
Bolivia - solo
All The Things You Are

G7
? œ0 œ4 œ0 œ2 œ4 0 œ 0 œ
œ œ0 œ œ4 œ0 ‰
œ ‰ ∑ ∑
2

J
4

J
330
G7
?œ œ0 œ1 # œ œ1 œ1 ‰ œ4 œ0 œ0 1 # œ œ œ0
4

∑ ∑
4 4

œ
2

J
334
G7
? œ œ0 œ0 œ œ1 # œ4 œ2 œ1 œ0 œ1 œ1 œ0 œ # œ œ ˙0
2 0 4 2

Ó Ó ‰ œ œ œ
4 4 0 2 4

œ
338

G7
? œ œ œ œ œ j œ
œ #œ ‰ œ œ œ œ #œ j œ œ 1 œ
4 0 1 2 0 œ
œ
4 2 4 2

Œ Œ ‰ œ œ
4 0 1 2 4 4 0

# œ
1 0 2

œœ œ œ
0 2 0 4 0

b b7
342

E ma7 A 13sus D ma7 A

? bœ. œ œ bœ Œ œ œ œ4 œ1 ˙ b œ2 b œ4 œ2 b œ1 0 2 4 n œ0
0 1 4 0

œ œ #œ œ Ó œ œ #œ
2

J
0 4 1 1 0

#7( b 5)
346
#
G ma7 F B mi7 C 7( 11)
4 bœ b œ2 # œ4
? ˙0 Ó œ bœ œ # œ œ œ œ œ œ #œ œ Ó Ó Œ
1 2 1 2
0 4 0 0 0 4 0

b
350
b
B mi7 B mi7/A A mi7( 5) G mi7 C7
? œ2 # œ4 œ1 œ0 œ1 œ4 œ4 # œ4 1 0 1 œ4 b œ2 # œ4 0 0 1j œ4 b œ1 œ2 b œ1
œ œ œ œ ‰ œ bœ ‰ Ó
J
354
b #
F ma7 B7 B ma7 A 7( 5)
? œ0 œ2 œ4 œ0 Ó # œ1 œ2 # œ4 œ0 Ó œ2 œ4 œ0 œ2 ˙ œ4 œ0 œ1 ˙
358

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44
2
BoliviaAll The- Things
bassYou Areline
G7
?œ œ œ bœ œ bœ nœ bœ œ œ œ #œ
œ bœ œ œ
37
G7
?œ œ œ #œ œ œ œ œ œ œ bœ
œ œ œ œ œ
41
G7
œ bœ œ bœ nœ bœ
? œ œ
œ #œ nœ #œ œ œ œ #œ
45
G7
œ œ œ œ bœ
? œ bœ nœ bœ œ œ œ œ œ œ bœ
49
b b7
E ma7 A 13sus D ma7 A
? bœ œ œ œ œ #œ œ œ bœ nœ bœ bœ
œ bœ œ œ
53
G ma7 F
#7( # 5) B mi7
#
C 7( 11)
?œ œ #œ œ œ bœ œ œ
œ œ œ œ œ œ #œ
#œ
57
b b
B mi7 B mi7/A A mi7( 5) G mi7 C7
? #œ œ œ bœ œ bœ œ œ œ
œ œ œ œ œ œ œ
61
b #
F ma7 B7 B ma7 A 7( 5)
? œ œ œ bœ œ œ œ œ œ
œ œ œ œ œ #œ
œ
65

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45

11. BOLIVIA - SOLO

This is an insanely difficult song. It’s like the two hardest

elements of jazz songs - complex chord progressions and too
much of one chord - combined into one minefield of a chord
progression. I love this song, and I love all of Cedar Walton’s
songs. But this one is insanely hard!

As I said earlier, just outline the changes as simply as possible

and you’ll be good! These changes are so unusual, that if you just
focus on playing each one, it will say much more than trying to be
“hip” or “interesting.” Here’s my favorite part of the song:

So much voice leading here! The “D” that is the #5 of the F#7 also
works with the Bmi7 and the C7(#11). Again, I’m just trying to
outline the changes as clearly as possible, and acknowledge all
the extensions that are written in the chord (like the #5 and #11).

To end this chorus … motivic development, baby.

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46

11. BOLIVIA - BASS LINE

First things first, let’s address the endless sea of G7. Just like in
“Impressions,” we want to try to get as much chromaticism in
there to keep the interest up. I use a lot of Abs and F#s, despite
the F# being the worst possible note to play over a G7.

Those are two separate phrases, but they both utilize the worst
possible notes as passing tones. That G-Ab-A-Ab is a straight up
Paul Chambers lick, he uses that in almost every chorus he
plays. Now let’s go to the B section and tackle the hard part.

These 4 bars are a great example of keeping things simple, but

interesting. The 9, which I play in the Dma7 (F#-A-E-D) does that
really well. I also use some chromaticism in the Ab7 leading to
the following chord, the Gma7. On to the next phrase!

Here I’m using the C on the F#7, but quickly resolving to the F#.

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47

SCORE Have You8. Met

MissMiss
JonesJones - solo
(Easy) COMPOSER
ARRANGER
F ma7 D7 G mi7 C7
?4 ˙2 œ bœ ˙. b ˙4 œ4 œ2 ˙.
4 Œ œ Œ
4

œ
0 1 0

b b7
A mi7 D mi7 A mi7 D G mi7 C7
˙4 A œ2 b œ4 b œ1 2 œ4 b œ1 œ œ2 œ4 œ0 1 œ2 œ0 œ
? œ œ0 œ4 ˙ . Œ œ bœ
2

F ma7 D7 G mi7 C7
œ4 œ1 b œ2 œ œ0 œ2 œ1 œ0 œ2 œ0 b œ1 ˙2
?˙ œ œ0 œ1 œ2 # œ4 Œ Ó
2 4

A mi7 D7 Cmi7
C7 F7
œ œ1 œ4 œ2 b œ4 ˙ N ˙4
?Œ œ0 œ4 œ . œ œ
4

œ Ó Ó
0 4 0

J
13
b b b7 b
B ma7 A mi7 D G ma7 E mi7 A7
œ4 1 œ4 bœ œ œ b œ2 b œ4
? b œ œ2 œ4 Œ œ œ œ œ ‰ œ
2 4

œ œ ˙
4 4 1

Ó
1 4

#œ bœ
0 24 0 1 1

b b7 b
17

D ma7 A mi7 D G ma7 G mi7 C7

2 bœ 2 œ 1 2
4 0 œ
? Ó b œ b œ b œ œ n œ b œ ˙ Ó œ œ
4
bœ œ
œ œ
1

œ
0 1 4 4 1 0 4 4 0

˙
21

F ma7 D7 G mi7 C7
? ˙0 œ1 b œ2 œ1 œ œ1 œ4 œ2 b ˙1
4

Ó ∑ ‰ Ó
25
A mi7 D7 G mi7 C7 F ma7
? œ1 œ4 œ1 b œ2 # œ4 œ œ2 œ4 œ0 œ2 œ œ ˙ Ó
2 0

29

©
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48
7
Have You Met Miss Jones - bass line
All The Things You Are

F ma7 D7 G mi7 C7
?œ œ œ œ œ œ œ œ œ
œ œ bœ œ œ œ bœ
b b7
202

A mi7 D7 A mi7 D G mi7 C7

? œ œ œ
œ œ œ bœ bœ œ bœ œ œ œ œ
œ œ
206

F ma7 D7 G mi7 C7
œ œ œ #œ
?œ œ œ #œ œ #œ œ #œ œ œ œ
œ
210

A mi7 D7 C mi7 F7
œ
? œ œ bœ œ œ œ œ bœ œ œ
œ œ #œ œ œ
b b b7 b
214

B ma7 A mi7 D G ma7 E mi7 A7

? œ bœ œ bœ œ bœ œ bœ bœ
bœ œ bœ œ œ #œ œ
b b7 b
218

D ma7 A mi7 D G ma7 G mi7 C7

? œ #œ œ œ œ bœ bœ
œ bœ bœ bœ bœ œ bœ œ
œ
222

F ma7 D7 G mi7 C7
œ œ œ bœ nœ œ œ œ bœ
? œ œ #œ œ
œ œ œ
226

A mi7 D7 G mi7 C7 F ma7

? œ bœ œ œ œ œ œ #œ œ œ
bœ œ œ œ bœ nœ
230

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49

12. HAVE YOU MET MISS JONES - SOLO

This is an interesting tune, because it’s one of the easiest A

sections combined with the hardest bridge. It’s always good fun
to hear people nail the A sections and then completely fold on
the bridge. Hopefully with this etude, you will no longer be one of
those people! Let’s start with the first phrase.

I love starting with that b9 on the D7. It’s such a nice sound.
Assuming we all just want to get to the bridge, let’s check out
what I play on the bridge.

Even though I’m an advocate for playing hard changes as simply

as possible, this bridge needs some extensions. I use a b9 on the
Db7 to spice things up, and I start on the min11 for the Abmi7.
Then on the A7, I play a #9 and a b9, leading to the Dma7.

I use that same b9 on the Db7 again here. I don’t know why I like
certain extensions on certain chords, but I love a b9 on a Db7
and a #5 on a C7, which I’m also using here.

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50

12. HAVE YOU MET MISS JONES - BASS LINE

The same way it’s important to play hard changes simply (most of
the time), it’s also important to make easier changes more
interesting. If you play too simple a bass line over an easy chord
progression, it can sound boring. And as I said earlier, the easiest
way to make a bass line more interesting is to change the order
of notes. Here’s the first 4 bars:

The first bar is 1-3-5-7, which would sound boring, except for the
fact that the octaves are displaced - so the 1 and 3 are in a higher
octave. That is literally all you need to keep things interesting!
Speaking of keeping it interesting, here are some passing tones:

Even though it’s a D7, the C# is a nice touch leading to the root.
The C# makes it so the D sounds like a release. Sometimes you
can do that tension and release within the bar! Then on the
bridge, I keep it as simple as possible:

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51

CLOSING REMARKS

Thank you for buying my book “Low Standards.” I hope you have
gained some knowledge, and more importantly some confidence,
in the area of playing standards on the bass.

I’d like to let you know about a not-so-secret community, which

is the #1 upright bass page on Patreon at www.patreon.com/
coledavismusic. We have over 750 followers, and all of my
transcriptions, videos, books, courses, and more are located on
the platform. Plus, you get direct access to me and can send me
a DM whenever you want - and unlike Instagram, I will always
reply! We also have a chat room called “Cole’s Bass Hang” which
has over 700 members all over the world. Join today!

Xo,

Cole

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